IMEA Title

IMEA Biennial In-Service Conference and All-State Groups




If you have questions about All-State or the Conference click here to send your question by email:

February 1-3, 2018
tentatively in Moscow, Idaho.

2018 All-State Inservice Conference

The 2018 IMEA All-State Inservice Conference will be held February 1-3, 2018 on the campus of the University of Idaho in Moscow, Idaho.

The All-State auditions are now open and will close at midnight on October 6, 2017. All audition fees will need to be paid or postmarked by October 16, 2017. Students will be notified of their acceptance around November 3, 2017.

NEW THIS YEAR! Last year IMEA sponsered the first ever Idaho All-State Jazz Band and it was a big success. This year we will be sponsoring the first ever Idaho All-State Jazz Choir. Options are being explored to hopefully sponsor both groups at the same time in the future. Be sure to check out the vocal audition pages for the optional Vocal Jazz Audition exercises. There will also be auditions for the Jazz Choir Rhythm Section. The requirements for the rhythm section will be posted shortly.

   Register Students  

Sessions Proposals are now open for submission. See the Sessions Proposal page for more information. Deadline for submissions is September 1st.

The Performing Groups Application is now available online. See the Application for more details. Deadline for submissions is October 16, 2017.



General Information

Please inform qualified and interested students in your music groups about the All-State Honor Groups and assist those who apply in preparing the audition materials. Students are eligible for All-State Honor Groups if they are regularly enrolled or dual-enrolled members of a school concert music ensemble in grades 9-12 in Idaho and their director is a current member of the Idaho Music Educators Association.

You must be a member of IMEA/NAfME or your students will not be considered for membership in any All-State group. IMEA is the sole sponsor and adminstrator of these Honor Groups; your membership in the organization will be checked at the time your students apply. If you are not a current member, your students will not be able to audition. If, for some reason, you have put off renewing your IMEA/NAfME membership and cannot access the registration page, please register and send a copy of your electronic receipt to Wayne Millett, the web master. He will have to enter you manually into the IMEA system. We do not get automatic updates from NAfME that magically appear in our system. It can take up to one week to register and add you to system. Please don't put it off. Join or renew NOW!

Because this event is sanctioned by the Idaho High Schools Activity Association (IHSAA) your school must be a member of that organization in order for your students to participate. If your school is not a member of IHSAA, but you are a member of NAfME/IMEA, you students still cannot participate. Both membership requirements must be met.

The sizes of the All-State groups (pending successful auditions) will be Band—140, Orchestra—120, MixedChoir—200, Womens Choir—120, and new this year, Jazz Choir-40.

Organizing Chairmen are, Band - Aaron Marshall; Jazz Choir - Corrina Steinbach; Mixed Choir - Bob Wicks; Orchestra - Jim Phillips; and Treble Choir - Lindsay Lowe.

Registration fees covering music, clinicians, meals, T-shirts, etc. will be set at the Fall Board meeting.

If any of your students were in All-Northwest, they will NOT automatically be in All-State. They must make a recording of the All-State tryout materials.

If I can be of any assistance to you in your preparation for All-State, please call me anytime. I wish you and your students much success and look forward to meeting each of you at the convention in February, 2018.

Kathy Stefani
presidentelect at idahomusiced.org



Audition Instructions

Students:

  1. Prepare the required audition materials.
  2. Complete the Student Audition Form and give it to your teacher along with $5 for the audition fee.
  3. Record the audition materials. Each exercise should be saved in a separate file. Voice, wind, and percussion players will upload 4 files each. String players will upload 5 files each. They must be saved or converted to MP3 format. DO NOT state your name and school. DO NOT say the name of your solo. It will be entered on your registration form.
  4. Your teacher will register you on-line and will upload your auditions.

Teachers:

  1. Make sure the students have access to the audition materials.
  2. Collect the Student Audition Form from each student.
  3. Record the students' auditions. Each exercise should be saved in a separate file. Voice, wind, and percussion players will upload 4 files each. String players will upload 5 files each. They must be saved or converted to MP3 format. Files must be smaller that 2MB in size or you will get an error. See below for recording helps and hints.
  4. Register your students on the IMEA Web Site. Registration will open August 14, 2017.
  5. You must be a member of NAfME/IMEA to log-in. You will log-in with your NAfME # and your last name.
  6. The first time you log-in you will need to update your contact information.
  7. Click on the "Add School" button to add all the schools you teach at that will have students auditioning for All-State.
  8. After you have added your schools, you are ready to start adding students by clicking on "Add Student"
  9. Use the Student Audition Form that the student filled out to complete the information requested. Please double check all information. If you place your student in the wrong category they will be disqualified.
  10. After you have added a student you can upload their audition files. Click on the speaker with the red X and follow the instructions. Be sure to listen to the file after it has been uploaded to make sure it's right.
  11. Continue adding students until they are all entered.
  12. When you are ready to pay the student fees, click on the "Pay Audition Fees" link in the lower right hand corner.
  13. Choose the school that you are paying the fees for, then click "Next."
  14. All of the students that have registered from that school will be shown. This will include band, choir, and orchestra students. Select the check box next to the names of all the students that you are paying for and click "Next."
  15. The Fee Payment page will show you all the names of the students that you are paying for. Please double check it for accuracy.
  16. The preferred method of payment is by credit or debit card through PayPal. You do not have to have a PayPal account.
  17. If you need to pay by check, print two copies. Keep one for your records and mail the other copy, with your check, to the address given on the form. When you are finished click "Cancel."
  18. To pay by credit/debit card, print one copy for your records then click the "Pay Now" button.
  19. You will be taken to the PayPal site. If you have a PayPal account, log-in and follow the payment instructions. If you do not have a PayPal account, click the "Don't have a PayPal account?" link and follow the payment instructions.
  20. REMEMBER!!! Auditions must be uploaded by midnight October 6, 2017. All fees must be paid or postmarked by October 16, 2017. Students whose fees have not been paid at that time will be removed from the system. No effort on the part of IMEA will be made to collect the non-payment of audition fees.
  21. NOTE: Many audition are incorrectly uploaded. Common problems are switched etudes, combined etudes, registering in the wrong category, introduction of the student, and missing files. Files uploaded incorrectly will not be fixed and will be disqualified from consideration. There just isn't enough time in the day to track down all the mistakes that could easily be fixed by directors taking the time to proof the uploads!

Recording Helps:

If you are total a novice at recording on your computer try to find someone around you that can help. Usually there will be student who will know what they are doing.

MP3 files should be recorded at the bit rate of 128kbps. Some programs call this the resolution. There should be a setting for it on your digital recorder or in the audio program that you record into.

A simple and free program that you can download to record with is Audacity. It works on both Mac and Windows, is easy to use, and is very versatile. Click on the link to go to the download page. The Audacity Tutorials are also very good for learning the basics of recording. You can find them HERE.

If you are on a Mac and want to use an external microphone, you will need a separate USB interface. One of the cheapest and easiest to use is the iMic by Griffin Technologies. Cost is between $30-$50 at most computer stores.

To convert a different file format to MP3 using iTunes:

  1. Start iTunes and open the Preferences
  2. Under General look for the Import Settings button
  3. Click on that and change the Import Using menu to MP3 Encoder. Make sure that you have "High Quality (160 kbps)" selected under "Setting". If you use the "Higher Quality (190 kbps)" setting, your file may be too large and will not import.
  4. Click OK to save the settings and exit back to iTunes
  5. Right click on the file you want to convert (or Control click on the Mac) and select Create MP3 Version
  6. Locate the new file and drag it to the desktop. It should have a .mp3 at the end of the file name. This is the file you want to upload for the audition.
  7. Contact Wayne Millett the Web Master if you are totally lost and need help.

Download the Audition Music in pdf format.
Soprano I Soprano II Alto I Alto II Tenor I Tenor II Bass I Bass II



Choir Audition Requirements

  1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
  2. There is a $5.00 fee to audition. Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
  3. Fill out the Student Audition Information Sheet and give it to your teacher.
  4. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
  5. If you have any questions about the Treble or Mixed Choir contact: Kathy Stefani. If you have any questions about the Jazz Choir, contact: Kathy Stefani
  6. All auditions must be completed and uploaded by the due date, October 6, 2017.
  7. Optional Jazz Choir Audition. New in 2018. If you wish to be considered for the new Idaho All-State Jazz Choir, please complete the three additional exercises.

Audition Exercises:

All exercises and the song are to be sung unaccompanied. The pitch should be given only once before each exercise. Each exercise should be recorded into a separate file.

  1. Sing following scale, ascending and descending, using the syllables "do re mi fa sol la ti do". Do not repeat the high "do" upon descending. You may take a breath, if needed. Sing the exercise with each note m.m. 100.

  2. Soprano I: F (first space treble staff)
    Soprano II: D (above middle C)
    Alto I: A (below middle C)
    Alto II: G (below middle C)
    Tenor I: Eb (third space bass staff)
    Tenor II: C (octave below middle C)
    Bass I: G (first line bass staff)
    Bass II: F (first space below bass staff)


  3. Sing following scale, ascending and descending, using the syllables "do re mi fa sol la ti do". Do not repeat the high "do" upon descending. You may take a breath, if needed. Sing the exercise with each note m.m. 100.

  4. Soprano I: A (second space treble staff)
    Soprano II: G (second line treble staff)
    Alto I: Eb (first line treble staff)
    Alto II: D (above middle C)
    Tenor I: G (fourth space bass staff)
    Tenor II: E (third space bass staff)
    Bass I: D (third line bass staff)
    Bass II: C (octave below middle C)


  5. Vocalize the scale pattern "8-5-3-1" using the word "I love to sing", each pitch at m.m. 120. At the end of the pattern, sing the exercise again 1/2 step higher. Repeat the exercise again another 1/2 step higher, etc. for a total of six renditions of the pattern. Do not vocalize the 1/2 step transition at the end of each pattern.

  6. Soprano: begin on C (third space)
    Alto: begin on G (second line)
    Tenor: begin on C (middle C)
    Bass: begin on G (fourth space bass staff)

  7. Sing unaccompanied the melody and word of "America the Beautiful" (Oh beautiful for spacious skies) first stanza only. Use the following keys at m.m.100.

  8. Soprano I & Tenor I: key of D (start on A)
    Soprano II & Tenor II: key of C (start on G)
    Alto I & Bass I: key of B (start on F#)
    Alto II & Bass II: key of A (start on E)


    OPTIONAL: Jazz Choir Audition
  9. Jazz Interpretation: Sing the first 16 measures in a swing style, unaccompanied, of “Summertime.” You choose the tempo and key. (Lead sheet is available on Aebersold, Volume 25.)

  10. Rhythmic and Pitch Accuracy: Sing unaccompanied, your voice part of Jazz Choir, Example 1.

  11. Optional Improvisation: Improvise 3 choruses of up-tempo Bb Blues. This may be done with Jamey Aebersold, Volume 2, track 5, a live rhythm section, or sung alone.


Download the Audition Music in pdf format.
Violin Viola Cello Double Bass Harp



String Audition Requirements

GENERAL INSTRUCTIONS FOR STRING APPLICANTS
  1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
  2. There is a $5.00 fee to audition. Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
  3. Fill out the Student Audition Information Sheet and give it to your teacher.
  4. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
  5. If you have any questions contact: Jim Phillips
  6. All auditions must be completed and uploaded by the due date, October 6, 2017.

STRING AUDITION MATERIALS

VIOLIN

Seventy-Five Melodious and Progressive Studies, Op. 36, Book 1 (Mazas, pub. G. Schirmer)

  1. Three-octave A Major scale: Play sixteenth notes ascending and descending, slur eight notes per bow. (Quarter note = 108) Listen to an example
  2. Three-octave A melodic minor scale: Play sixteenth notes ascending and descending, detaché. (Quarter note = 92) Listen to an example
  3. Exercise 26: Play from the beginning to the key change at the end of line 8. (Quarter note = 90) Listen to an example
  4. Exercise 18: Play 3 lines plus one measure (20 measures total). (Eighth note = 86) Listen to an example
  5. Choose and play a one-minute excerpt from your solo literature.

VIOLA

Etudes Speciales for the Viola, Op. 36, Book 1 (Mazas, pub. G. Schirmer)

  1. Three-octave D Major scale: Play sixteenth notes ascending and descending, slur eight notes per bow. (Quarter note = 108) Listen to an example
  2. Three-octave D melodic minor scale: Play sixteenth notes ascending and descending, detaché. (Quarter note = 92) Listen to an example
  3. Exercise 26: Play from the beginning to the key change in the middle of line 10. (Quarter note = 90) Listen to an example
  4. Exercise 18: Play the first 5 lines, until the key change (20 measures total). (Eighth note = 86) Listen to an example
  5. Choose and play a one-minute excerpt from your solo literature.

CELLO

Violoncello Method (Kummer, pub. G. Schirmer)

  1. Three-octave D Major scale: Play sixteenth notes ascending and descending, slur eight notes per bow. (Quarter note = 88) Listen to an example
  2. Three-octave E melodic minor scale: Play sixteenth notes ascending and descending, detaché. (Quarter note = 72) Listen to an example
  3. Exercise 70, page 78: Play top part. (Quarter note = 72) Listen to an example
  4. Exercise 79, page 86: Play top part. (Eighth Note = 100) Listen to an example
  5. Choose and play a one-minute excerpt from your solo literature.

DOUBLE BASS

Double Bass Studies (Felipe Libon, public domain. IMSLP) Updated for 2015

  1. Two-octave F Major scale: Play sixteenth notes ascending and descending, slur four notes per bow. (Quarter note = 88) Listen to an example
  2. Two-octave E melodic minor scale: Play eighth notes ascending and descending, detaché bowing. (Quarter note = 72) Listen to an example
  3. Exercise 1, Allegro, page 2. Measures 1 through 9. (Quarter note = 90) Listen to an example
  4. Exercise 12, Allegretto, page 14. Measure 1 through beat 1 of measure 14. (Quarter note = 80)Listen to an example
  5. Choose and play a one-minute excerpt from your solo literature.

HARP

Exercices et etudes pour la harpe, Op. 9 (Edmond Larivlere, public domain.) IMSLP

  1. No. 2, page 3. (Quarter note = 120)
  2. No. 14, page 7. (Quarter note = 85)
  3. No. 80, page 24. Measures 1 through 17. (Quarter note = 120)
  4. Choose and play a one-minute excerpt from your solo literature.

For questions or for more information, contact the orchestra chairman: TBD



Winds & Percussion Audition Requirements

  1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
  2. There is a $5.00 fee to audition. Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
  3. Fill out the Student Audition Information Sheet and give it to your teacher.
  4. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
  5. If you have any questions contact: Aaron Marshall
  6. All auditions must be completed and uploaded by the due date, October 6, 2017.

WIND & PERCUSSION AUDITION MATERIALS

The solo in #4 in the materials listed below is optional. Students who wish to be considered for 1st chair or to play solos should perform the solo. The solo should be a piece of their choosing not to exceed 1 minute in length. The chosen piece should be relatively difficult for the student, but should demonstrate the student’s musical strengths. Pieces from each instrument’s solo repertoire are recommended. Remember, the piece given here is an example only. It may be used, but a piece of the students’ choosing is highly recommended.

Note that points will be deducted for not playing at indicated metronome speed.

WOODWINDS

Flute:

  1. Chromatic Scale – Low C to C4 using slurred sixteenth notes ascending and descending. (Quarter note = 72) Listen to an example
  2. Selected Studies for Flute -  Page 20: measures 1-18. (Dotted quarter note = 48) Listen to an example
  3. Selected Studies for Flute – Page 33: measures 1-25 and 43-52. (Quarter note = 120) Listen to an example
  4. Example solo: Johann Sebastian Bach: Sonata in Eb Major Mvt. 1 Beginning to measure 53 (quarter note = approximately 88)

Oboe

  1. Chromatic Scale – Low C to High D (two octaves plus one step) using slurred sixteenth notes ascending and descending (Quarter note = 60) Listen to an example
  2. Barret Oboe Method, Kalmus Edition – Page 12 number 6 – First 16 measures (Quarter note = 80) Listen to an example
  3. Barret Oboe Method, Kalmus Edition – Page 6 number 7 (Quarter note = 80) Listen to an example
  4. Example Solo: Paul Hindemith: Oboe Sonata Beginning to Rehearsal number 3

Clarinet

  1. Chromatic Scale – Low E to High E (E4) using legato tongued eighth notes ascending and descending (Quarter Note = 144) Listen to an example
  2. Selected Studies for Clarinet - Page 18: measure 1 to the first note of measure 16. (Quarter Note = 72) Listen to an example
  3. Selected Studies for Clarinet - Page 9: measures 1-13. (Quarter note = 90) Listen to an example
  4. Example Solo – Concerto for Clarinet – Mozart - First 20 measures of the clarinet part

Bass Clarinet

  1. Chromatic Scale – Low E to High C (C3) using legato tongued eighth notes ascending and descending (Quarter note = 100) Listen to an example
  2. Rubank Advanced Method for Clarinet Vol. I -  Page 32 Number 11 Bottom Part – First four lines plus the next note (Eighth note = 120) Listen to an example
  3. Rubank Advanced Method for Clarinet Vol. I - Page 49 – Last 21 measures (Quarter note = 120) Listen to an example
  4. Example Solo: Sonata in A Minor - Marcello -  Movement 1  - Allegro Section

Bassoon

  1. Chromatic Scale – Low Bb to High F using slurred eighth notes ascending and descending (Quarter note = 120) Listen to an example
  2. Rubank Advanced Method Page 36 Number 21. Measures 17-34. (Quarter Note = 72) Listen to an example
  3. Twenty Studies for Bassoon Page 11: measure 1 to the first note of measure 21. (Quarter Note = 80) Listen to an example
  4. Example Solo: Concerto in Bb – Mozart - 3rd Movement  Beginning to measure 50

Saxophone

  1. Chromatic Scale – Low Bb to F3 using slurred sixteenth notes ascending and descending (Quarter note = 92) Listen to an example
  2. Selected Studies for Saxophone - Page 8 - Measures 1-21 (Eighth note = 92) Listen to an example
  3. Selected Studies for Saxophone - Page 9 - Measures 1-12 (Quarter note = 92) Listen to an example
  4. Example Alto Saxophone Solo: Concerto in Eb - Glazounov  - First Page

BRASS

Trumpet

  1. Chromatic Scale – Low G to High C (C3) using legato tongued eighth notes ascending and descending (Quarter note = 120) Listen to an example
  2. Selected Studies for Cornet or Trumpet – Page 8, measure 1-16 (with pickups) (Eighth Note = 95) Listen to an example
  3. Prelude et Ballade – Balay – Page 3 Top Five Lines (Quarter Note = 100) Listen to an example
  4. Example Solo – Concerto in Eb - Hummel – First Page

French Horn

  1. Chromatic Scale – Low C to High G (top of the staff) using legato tongued quarter notes ascending and descending (Quarter note = 132) Listen to an example
  2. Rubank Advanced Method for French Horn Vol. II - Page 52 Number 25 (Dotted-quarter note = 80) Listen to an example
  3. Rubank Advanced Method for French Horn Vol. II - Page 49 Number 17 (no D.C.) (Quarter Note = 88) Listen to an example
  4. Example Solo: Concerto No. 3- Mozart -  Rehearsal Letter A to Letter C

Trombone

  1. Chromatic Scale – Low F to High Bb using legato tongued quarter notes at Quarter Note = 132 Listen to an example
  2. Selected Studies for Trombone – Page 19 – Largo cantabile, measure 1 to 1st note of measure 14  (Dotted-quarter Note = 55) Listen to an example
  3. Bordner Book of Practical Studies #53 (Quarter Note = 100) Listen to an example
  4. Example Solo:  Concert Piece #5 – Blazhevich – Rehearsal Number 18 to the end

Euphonium (Bass Clef)

  1. Chromatic Scale – Low F to High Bb using legato tongued eighth notes at Quarter Note = 120 Listen to an example
  2. Selected Studies for Baritone – Page 2 – measure 1 to the first note of measure 16 (no repeat)  (Quarter Note = 72) Listen to an example
  3. Selected Studies for Baritone – Page 11- measures 1-16 (Quarter Note = 80) Listen to an example
  4. Example Solo: Suite for Baritone - Haddad – Movement I – From the beginning to seven measures after E

Euphonium (Treble Clef)

  1. Chromatic Scale – Low G to High C using legato tongued eighth notes at Quarter Note = 120
  2. Selected Studies for Baritone – Page 2 – measure 1 to the first notes of measure 16 (no repeat)  (Quarter Note = 72)
  3. Selected Studies for Baritone – Page 11, measures 1-16 (Quarter Note = 80)
  4. Example Solo: Suite for Baritone - Haddad – Movement I – From the beginning to seven measures after E

Tuba

  1. Chromatic Scale – Low F to High Bb (above the staff) using legato tongued quarter notes at Quarter Note = 108 Listen to an example
  2. Rubank Supplementary Studies Eb or BBb Bass, by R. M. Endresen, page 16, No. 30, measures 1-16. (Quarter Note = 80) Listen to an example
  3. Rubank Supplementary Studies Eb or BBb Bass, by R. M. Endresen, page 16, No. 29, complete. (Quarter Note = 92) Listen to an example
  4. Example Solo – Sea Dreams – Barbara York – Movement 3: Measures 1-46. Available from Cimarron Music

Percussion

  1. Snare Drum – Audition Etudes by Garwood Whaley – Page 8 Number 7 Listen to an example
  2. Timpani - Audition Etudes by Garwood Whaley – Page 13 Number 4 Listen to an example
  3. Keyboards - Audition Etudes by Garwood Whaley – Page 20 Number 4 Listen to an example
  4. Suggested Solo: (Choose 1 minute of a solo on your strongest percussion instrument)

For questions or more information, contact the band chairman: TBD


Download the Audition Music in pdf format.
Piano Guitar Bass Drum Set


Jazz Choir Rhythm Section Audition Requirements

  1. Prepare the audition material listed here. The key is preparation. You may use a metronome to set tempo, but may not use it while playing. IF THERE IS AN INDICATED TEMPO, PLAY YOUR AUDITION AS CLOSE TO THE INDICATED METRONOME SPEEDS AS POSSIBLE. Points are deducted for going faster or slower than indicated.
  2. There is a $5.00 fee to audition. Pay this to your teacher. Each teacher will send in one check for all their students' auditions.
  3. Fill out the Student Audition Information Sheet and give it to your teacher.
  4. Record your auditions. Name and save the recordings to your hard drive. Each exercise must be recorded as a separate file.
  5. If you have any questions about the Jazz Choir Rhythm Section contact: Corrina Steinbach
  6. All auditions must be completed and uploaded by the due date, October 6, 2017

JAZZ CHOIR RHYTHM SECTION AUDITION MATERIALS

All examples are to be played alone (without accompaniment) except where indicated. For the rhythm tracks you may use the indicated Aebersold track, a live rhythm section, or another rhythm section generator, such as iReal. You will need to indicate which one you used on the audition application.

Piano

  1. Play the written piano part from “Jazz Piano,” example 1.
  2. Comp with melody and chords for one chorus of “A Misty Moment” (Jazz Piano, example 2), followed by two choruses of improvisation. You may use a live rhythm section, a rhythm section generator, or Aebersold, Volume 25, CD 1, track 7, left channel only.
  3. Improvise a solo playing 3 choruses of up tempo Bb blues using a live rhythm section, a rhythm section generator, or Aebersold, Volume 2, track 5, left channel only.
  4. 4. Play any additional example of your choice not to exceed one minute.

Guitar

  1. Play the written guitar part from “Jazz Guitar,” example 1.
  2. Comp 16 measures of chord changes from a medium tempo “swing feel” chart, unaccompanied. Recommendation: if possible, use materials you are currently playing in your school jazz ensemble.
  3. Improvise a solo playing 3 choruses of up tempo Bb blues using a live rhythm section, a rhythm section generator, or Aebersold, Volume 2, track 5, left channel only.
  4. Play any additional example of your choice not to exceed one minute.

Bass

Acoustic Bass is preferred, but electric bass is acceptable.

  1. Play the written bass part from “Jazz Bass,” example 1.
  2. Play a walking bass line on “A Misty Moment” (Jazz Bass, example 2) for two choruses and solo on a third chorus if you choose to, using a live rhythm section, a rhythm section generator, or Aebersold, Volume 25, CD 1, track 7, right channel only.
  3. Play a bass line on a Latin tune of your choosing for 1 chorus and solo for 1 chorus if you choose to. You may use a live rhythm section, a rhythm section generator, or a play-along recording such as Aebersold or Hal Leonard with the bass part removed.
  4. Play any additional example of your choice not to exceed one minute.

Drums

    For each of tracks 1-3, play 16 measures “trading 4’s” divided alternately as 4 bars of time, 4 bars of solo, etc., within each 16 measure track.

  1. Play 16 measure of medium swing. (Quarter note = 120)
  2. Play 16 measure of fast swing. (Quarter note = 200)
  3. Play 16 measure of Bossa Nova (Quarter note = 152)
  4. 4. Play “Big Band Excerpt - #1". Play time and figures along with appropriate solo fill and set ups. (Quarter note = 200)

For questions or more information, contact the Jazz Band chairman, Corrina Steinbach


Application for Performing Groups

We are now accepting applications and recordings for performing groups at the 2018 IMEA All-State Inservice Conference. Selected groups will perform at numerous concert hours during the conference. We would like to see a balanced representation from all levels of Music Education in our State: Small, Medium and Large sized High School, Middle School, Elementary School, and University level performing ensembles.

The deadline for the Performing Groups Application is October 16, 2017. All materials should be submitted through the online application.

If you have questions or need more information, contact Ron Curtis, IMEA Past-President.


Performing Group Application


IMEA All-State Conductor Biographies

Dr. James Bankhead, Logan, Utah

Kirk Marcy, Edmonds Community College, Washington

Kirk Marcy is a Summa Cum Laude graduate of the University of Northern Colorado. He began his teaching career in 1983 at Lake Washington High School. In 1987, he joined the Four Freshmen, singing and playing keyboards and brass. In 1988, Kirk returned to the Pacific Northwest to become the Director of Choirs at Edmonds Community College.

In 2008, Kirk was inducted into the Washington Music Educators Hall of Fame. In 2013, he received Edmonds Community College’s “Excellence in Education Award” for outstanding teaching. Recently, he was selected as the 2017 Washington Interscholastic Activities Association ‘Music Educator of the Year’. 2017-18 marks his 30th year at the college.

Kirk has been honored to conduct All-State Choirs in fifteen states, and served as guest conductor of the 2014 ACDA Northwest Division Honor Jazz Choir. He is in demand as a clinician and adjudicator at choral and vocal jazz festivals throughout the United States and Canada.

Kirk’s choral and jazz compositions and arrangements are published through UNC Jazz Press, Walton and Sound Music Publications, and he recently formed his own publishing company, Kirk Marcy Music. Professionally, Kirk sings with Just 4 Kicks and Male Ensemble Northwest.

Dr. Sarah Graham, Lewis and Clark State College, Lewiston, Idaho

Sarah J. Graham is Assistant Professor of Music at Lewis-Clark State College in Lewiston, Idaho, where she teaches courses in music and the humanities, and conducts the Concert Choir. Dr. Graham earned both the Doctor of Musical Arts and Master of Music degrees in conducting from Michigan State University, in East Lansing, Michigan, the Master of Arts in English and Classroom Teaching from Pacific Lutheran University, in Tacoma, Washington, and the Bachelor of Arts in Music Education with a minor in Church Music from Whitworth, in Spokane, Washington.

Dr. Graham spent the early part of her career teaching public school choral music in Washington State, and most recently returned to the Northwest after ten years of collegiate teaching in Illinois. She has conducted choirs in both domestic and international performances and is a frequently presents sessions for her professional organizations and serves as an adjudicator and guest conductor for contests, festivals, and retreats. She is an active member of the National Collegiate Choral Organization, the National Association for Music Education, and the American Choral Director’s Association, where she is a board member for both the Northwest division and for the state of Idaho.

Graham is the artistic director and conductor of the Palouse Choral Society’s Chorale and Chamber Choir, and also serves as the music director for the Episcopal Church of the Nativity in Lewiston.

Dr. Steven Admundson, St. Olaf College, Northfield, Minnesota

Desiree LaVertu, California



Frequently asked questions about the In-Service Conference Registration

Q:   Can I register for the In-Service Conference online?
A:   Yes! Online Pre-Registration is done through the Washington MEA site. Go to WMEA.org to register.

Q:   Can I pay my registration fee with a credit card?
A:   Credit cards will be accepted. (You may also send a school or personal check. Purchase orders will NOT be accepted!)

Q:   I don't teach high school and I don't have students in All-State. Can I come at a reduced fee?
A:   IMEA/NAfME represents all levels and all areas of music education; consequently, the full fee is expected of all active music educators, regardless of their area or level of instruction. The In-Service Conference and the Idaho High School All-State are two separate events that are held at the same time. The sessions and concert hours at the In-Service are designed to address every teaching level and area.

Q:   How do I join IMEA/NAfME?
A:   You can join NAfME/IMEA by accessing the national web site at: www.nafme.org. (High school instructors need to remember to keep their membership current in order for their students to be eligible for All-State and the State Solo Contest.)

Q:   What does my registration includ?
A:   All registrations (with the exception of the FREE retired category) include 1 banquet ticket and entrance to all clinics, concert hours, exhibits and both GALA Concerts. Extra banquet tickets and extra GALA Concert tickets are available on the registration form. A limited number of banquet tickets will be available on-site.

The fine print ...
  • IMEA will accept NAfME membership cards for Conference Registration that are current through November 19, 2016. Members without a current valid membership will be notified by email and must renew at the time they register at the In-Service Conference or prior to the Conference.
  • If a member claims to have paid NAfME, but has not yet received a valid membership card, it shall be the responsibility of the IMEA Secretary to immediately check with the NAfME director of membership and finance. If membership is verified by NAfME, admission will be assured; if membership is not verified, the member must make membership payment at the registration site and a stop-pay at NAfME will be issued.


All-State Group Information

Check this page often for new information and updates.

All-State Band:

All-State Mixed Choir:

All-State Jazz Choir


All-State Orchestra:

All-State Treble Choir



IMEA Idaho All-State Student Registration



IMEA In-Service Conference Registration Information

Registration Instructions